Such a help is offered by Martin Heidegger’s essay “Nietzsche”. Indeed it explains the “will to power” concept in an ethical way as the connection between freedom and necessity. Therefore the deep and complex sound of Nietzsche’s opera seems to be closer to the reader and his life since the “Overture” of the second act, where the atmosphere of the action hosts him in a so direct way that he can feel attacked. Heidegger indeed talks about a courage that fights cowardliness and ignorance and that makes eternity a human choice through the will to want every instant on which it is built on. 19
Where the reader feels choked by an inevitable duty or by a need to which he does not belong, he understands that he can change perspective when he wants what it is, so to become the ruler of what it is. The need to accept the temporal dimension of the eternal recurrence makes freedom. And it is not just the idea according to which every choice that has been made (or not made) has some consequences. Such a freedom indeed is the idea that every choice concerns to a present time, to an instant that the higher man must actively want it and actively create it, as if it would repeat forever.
Hence it is an ethic freedom because it concerns a particular question: “is this choice for yesterday, for today, for tomorrow, in the eternity?”. It is the “Aria” of the second act, as the melody singed by the lead voice of the actual conceptual character: the reader.
This latter sings it because he wants to live the accident that he is living, both positive or negative, ‘beyond Good and Evil’, in order to become conscious of himself, to be responsible and to be free to act over this accident.
For example, the reader could live the existential condition of a judgment call and he could be afraid of the negative consequences of such a call. The melody he is singing here is the will to power’s melody and it does not prevent to be afraid, nor to be brave. Indeed it allows to accept the fear as something indivisible from bravery, because both are basic parts of the choice.
Thus the reader can finally understand what he is singing, as if he came out of the cave and sang a single meaningful song, no more asleep and no more drunk.
According to Nietzsche, the Will is based on the dualism between two feelings, “rage” and “hate”. As Heidegger explains, they are not similar and they are contradictory singular parts of one negative dialectical process whose general elements are “appetite” and “passion”.
Appetite is the reader’s continuous dynamism, that is the constant movement of dissipation: it is a relentless overcoming of himself and of his experience, like a ‘going beyond himself’. As an appetite, rage attacks and excites us so hard to push us out of ourselves, then we are not master of ourselves anymore. Hence in such a being out of ourselves we miss something and it is an unpleasant (ungut) sensation. Therefore Heidegger calls rage Un-wille, not-will, that is an indignation in which we totally lose ourselves.
On the opposite, passion is the reader’s conservation of himself, the preservation of his own full complexity as a communion of his past experiences in a unity. Passion is the gathering of these latter in the determination of an individuality. As a passion, hate attacks us like rage does, but in a different way, because it is something alive that we have already inside us. Exactly like love, hate fills and unifies our whole being in a lasting condition. That is why hate can grow up and can erode our being. Hate and love are not blind, fleeting and fragile as rage and falling in love, but they are lucid, stable and strong. That is because they are passions through which we take hold in ourselves and we get control of the entity around us and inside us.
Here is the “Duetto” of the second act of the opera, a moment in which the reader, as the conceptual character, has a melodic dialogue. Anyway, differently from the first act, such a dialogue does not take place between two characters, but it goes on as an intimate dialogue of the reader with himself. That is because he is a dual and his nature is the changing result of a negative dialectical process between Appetite and Passion.
Therefore the reader makes an incredible sound here in which he deeply alternates, intertwines and connects two different voices of his own. In this moment of the opera the lead voice of the character indeed splits and becomes two voices, but just to turn again in one, harmonious, aware and stronger than before.